CfP: Late Breaking Papers for International Conference on Computational Creativity, 2014

The Fifth International Conference on Computational Creativity will be held from June 10 to 13, 2014 in Ljubljana, Slovenia. We have accepted 37 high-quality full papers for presentation at the conference, which ensures that the event will be broad, lively and thought-provoking. We seek to supplement this with some late-breaking papers describing cutting edge research from the field. Please consider submitting a four-side paper about your most recent and exciting work to this track: these papers will form a formal part of the proceedings, and authors will have a short presentation at the conference, along with an invitation to a poster session.

If your full paper submission was not accepted to the conference, then we are more than happy to consider a late-breaking paper which is similar to the full paper, as long as it contains more recent results/thinking and takes the reviewers comments about the original paper into consideration.

International Conference on Computational Creativity, 2014  – June 10-13, Ljubljana, Slovenia


Submission details are available here:


Papers should be submitted to the EasyChair site for ICCC 2014:


The strict deadline for submissions is: Monday 5th May, 2014.


Original contributions are solicited in all areas related to Computational Creativity research and practice, including, but not limited to:

+ Computational paradigms for understanding creativity, including heuristic search, analogical and meta-level reasoning, and re-representation.

+ Metrics, frameworks, formalisms and methodologies for the evaluation of creativity in computational systems, and for the evaluation of how systems are perceived in society.

+ Perspectives on computational creativity which draw from philosophical, cognitive, psychological and/or sociological studies of human behaviour put into a context of creative intelligent systems.

+ Development and assessment of computational creativity-support tools, where the software ultimately takes on some creative responsibility in projects.

+ Creativity-oriented computing in learning, teaching, and other aspects of education.

+ Innovation, improvisation, virtuosity and related pursuits investigating the production of novel experiences and artefacts within a computational framework.

+ Computational accounts of factors that enhance creativity, including emotion, surprise (unexpectedness), reflection, conflict, diversity, motivation, knowledge, intuition, rewards structures, and technologies.

+ Computational models of social aspects of creativity, including the relationship between individual and social creativity, diffusion of ideas, collaboration and creativity, formation of creative teams, and creativity in social settings.

+ Computational creativity in the cloud, including how web services can be used to foster unexpected creative behaviour in computational systems.

+ Specific computational applications that address creativity in music, language, narrative, poetry, games, visual arts, graphic design, architecture, entertainment, education, mathematical invention, scientific discovery, programming and/or design.

High Level Issues

Papers which, in part or fully, address high-level general issues in Computational Creativity are particularly welcome, including notions such as:

+ Domain-specific vs. generalised creativity: addressing how the domain of study may or may not affect the creativity of systems or the perception of them. This might include discussions of general, computational, principles related to creativity that can be applied across domains.

+ Process vs. product: addressing the issue of evaluating/estimating creativity (or progress towards it) in computational systems through study of what they produce, what they do and combinations thereof.

+ Domain advancement vs. creativity advancement: addressing issues of the handing over of creative responsibility possibly leading to lower value artefacts being produced in certain domains or vice-versa.

+ Black box vs. accountable systems: addressing issues of software describing/explaining what it’s done, what it’s produced and why. How software can employ reflection to enhance its creative processing and add value to the artefacts that it produces.

Paper Types

Papers should be up to 4 sides in length, and should be submitted broadly in one of the following five categories:

Technical papers

These will be papers posing and addressing hypotheses about aspects of creative behaviour in computational systems. The emphasis here is on using solid experimentation, formal proof and/or argumentation which clearly demonstrates an advancement in the state of the art or current thinking in Computational Creativity research. Strong evaluation of approaches through comparative, statistical, social or other means is essential.

System description papers

These will be papers describing the building and deployment of a creative system to produce artefacts of potential cultural value in one or more domains. The emphasis here is on presenting engineering achievement, technical difficulties encountered and overcome, techniques employed and general findings about how to get computational systems to produce valuable results. While the presentation of results from the system is expected,
full evaluation of the approaches employed is not essential if the technical achievement is high.

Study papers

These will be papers which draw on allied fields such as psychology, philosophy, cognitive science or mathematics; or which appeal to broader areas of Artificial Intelligence and Computer Science in general; or which appeal to studies of the field of Computational Creativity as a whole. The emphasis here is on presenting enlightening novel perspectives related to the building, assessment or deployment of systems ranging from autonomously creative systems to creativity support tools. Such perspectives can be presented through a variety of approaches including ethnographical studies, thought experiments, comparison with studies of human creativity and surveys.

Cultural application papers

These will be papers presenting the usage of creative software in a cultural setting, e.g., art exhibitions/books; concerts/recordings/scores; poetry or story readings/anthologies; cookery nights/books; results for scientific journals or scientific practice; released games/game jam entries. The emphasis here is on a clear description of the role of the system in the given context, the results of the system in the setting, technical details of
inclusion of the system, and feedback from the experience garnered from public audiences, critics, experts, stakeholders and other interested parties.

Position papers

These will be papers presenting an opinion on some aspect of the culture of Computational Creativity research, including discussions of future directions, past triumphs or mistakes and issues of the day. The emphasis here is on carefully arguing a position; highlighting and exposing previously hidden or misunderstood issues or ideas;
and generally providing thought leadership about the field in general, or in specific contexts. While opinions don’t need to be substantiated through formalisation or experimentation, justification of points of view will need to draw on thorough knowledge of the field of Computational Creativity and overlapping areas, and provide convincing
motivations and arguments related to the relevance of the points being addressed and their importance.

All submissions will be reviewed in terms of quality, impact and relevance to the area of Computational Creativity. To be considered, papers must be submitted as a PDF document formatted according to ICCC style (which is similar to AAAI and IJCAI formats).

Organising Committee

General Chair: Dan Ventura, Brigham Young University
Programme Chair: Simon Colton, Goldsmiths College, University of London.
Local Chairs: Nada Lavrac and Tina Anzic, Jozef Stefan Institute, Ljubljana.
Publicity Chair: Michael Cook, Goldsmiths College, University of London.

Programme Committee

John Barnden, The University of Birmingham
Oliver Bown, University of Sydney
David C Brown, Worcester Polytechnic Institute
Win Burleson, Arizona State University
F. Amílcar Cardoso, University of Coimbra
Simon Colton, Goldsmiths College, University of London
Michael Cook, Goldsmiths College, University of London
John Gero, Krasnow Institute for Advanced Study
Pablo Gervás, Universidad Complutense de Madrid
Ashok Goel, Georgia Institute of Technology
Andrés Gómez de Silva Garza, Instituto Tecnológico Autónomo de México
Jeremy Gow, Goldsmiths College, University of London
Kazjon Grace, University of North Carolina
Amy Hoover, University of Central Florida
Anna Jordanous, Kings College, London
Robert Keller, Harvey Mudd College
Nada Lavrac, Jozef Stefan Institute
Ramon Lopez De Mantaras, IIIA – CSIC
Penousal Machado, University of Coimbra
Brian Magerko, Georgia Institute of Technology
Mary Lou Maher, University of North Carolina Charlotte
Neil Maiden, City University London
Ruli Manurung, University of Indonesia
Jon McCormack, Monash University
David C. Moffat, Glasgow Caledonian University
Nick Montfort, Massachusetts Institute of Technology
Diarmuid O’Donoghue, National University of Ireland, Maynooth
Francois Pachet, Sony Computer Science Lab, Paris
Philippe Pasquier, Simon Fraser University
Alison Pease, University of Dundee
Rafael Pérez y Pérez, Autonomous Metropolitan University, México
Mark Riedl, Georgia Institute of Technology
Graeme Ritchie, University of Aberdeen
Gillian Smith, Northeastern University, Boston
Oliviero Stock, Fondazione Bruno Kessler
Julian Togelius, IT University of Copenhagen
Hannu Toivonen, University of Helsinki
Paulo Urbano, University of Lisboa
Lav Varshney, University of Illinois at Urbana-Champaign
Tony Veale, University College Dublin
Dan Ventura, Brigham Young University
Geraint Wiggins, Queen Mary, University of London
Georgios Yannakakis, University of Malta

Become a DiGRA Member

Join the premier international association for professionals, academics, developers and other individuals interested in the evolving fields of digital gaming and game studies.